Concert Band Playing Test #2 (Due 2/28)

Here are the assignments for Three Ayres playing test:
[+] Flutes Bar 36, Beat 2 thru 43, 2 tempo 101
This section should be played in a light and lilting style. Pay very close attention to the articulations. There should be a strong contrast between the staccato and legato notes. Make sure you play the accents in measure 37, but be careful not to play them too heavy. Think of "leaning" on the accented note. Listen to match pitch with the oboes. You have the same part.
[+] Oboe Bar 36, Beat 2 thru 43, 2 tempo 101
This section should be played in a light and lilting style. Pay very close attention to the articulations. There should be a strong contrast between the staccato and legato notes. Make sure you play the accents in measure 37, but be careful not to play them too heavy. Think of "leaning" on the accented note. Listen to match pitch with the flutes. You have the same part.
[+] Bassoon Bar 38, Beat 1 thru 48, 2 tempo 101
This section should be played in a light and lilting style. Start out at a mp dynamic level and pay close attention to the articulation markings. Think of playing "light and separated" rather than "short" on the staccato notes. Watch for the crescendo and decrescendo in measures 40 and 41. Look out for the C# in measure 42 and the F# in measure 46. Crescendo through the half notes in measure 46 – 48. Listen to the alto/bass clarinets and bari sax to match styles.
[+] 1st Bb Clarinet Bar 8, Beat 2 thru 24, 2 tempo 95
This section should be played in a light and lilting style at a mf dynamic level. Pay close attention to the articulation markings. Think "light and separated" on the staccato notes rather than "short." If you are not the soloist, make sure that you match his or her style when you come in on the tutti during class.
[+] 2nd Bb Clarinet Bar 9, Beat 1 thru 24, 2 tempo 95
This section should be played in a light and lilting style. At measure 9, make sure that you are playing at a mp dynamic so that you can hear the solo in the first clarinet. Crescendo to mf in measure 12. Pay close attention to the articulation markings. On the staccato notes, think "light and separated" rather than "short." Decrescendo back down to mp in measure 16 so that you can hear the soloist in measure 17. Watch out for accidental notes in measures 16, 20, 21, and 22.
[+] 3rd Bb Clarinet Bar 9, Beat 1 thru 24, 2 tempo 95
This section should be played in a light and lilting style. At measure 9, make sure that you are playing at a mp dynamic so that you can hear the solo in the first clarinet. Crescendo to mf in measure 12. Pay close attention to the articulation markings. On the staccato notes, think "light and separated" rather than "short." Decrescendo back down to mp in measure 16 so that you can hear the soloist in measure 17. Watch out for accidental notes in measures 10, 12, and 16.
[+] Eb Alto Clarinet Bar 38, Beat 1 thru 48, 2 tempo 101
This section should be played in a light and lilting style. Start out at a mp dynamic level and pay close attention to the articulation markings. Think of playing "light and separated" rather than "short" on the staccato notes. Watch for the crescendo and decrescendo in measures 40 and 41. Look out for the A# in measure 42 and the D# in measure 46. Crescendo through the half notes in measure 46 – 48. Listen to the bassoon, bass clarinet, and bari sax to match styles.
[+] Bb Bass Clarinet Bar 38, Beat 1 thru 50, 2 tempo 101
This section should be played in a light and lilting style. Start out at a mp dynamic level and pay close attention to the articulation markings. Think of playing "light and separated" rather than "short" on the staccato notes. Watch for the crescendo and decrescendo in measures 40 and 41. Look out for the D# in measure 42 and the C# in measure 49. Crescendo through the half notes in measure 46 – 48. Listen to the bassoon, bass clarinet, contrabass clarinet, and bari sax to match styles.
[+] Eb Contralto Clarinet Bar 42, Beat 1 thru 50, 2 tempo 101
This section should be played in a light and lilting style at a mp dynamic level. Pay close attention to the articulation markings. Think of playing "light and separated" rather than "short." Use the crescendo at measure 46 and the decrescendo at measure 49 to emphasize the phrase. Watch out for the A# in measure 42 and the G# in measure 49.
[+] Bb Contrabass Clarinet Bar 42, Beat 1 thru 50, 2 tempo 101
This section should be played in a light and lilting style at a mp dynamic level. Pay close attention to the articulation markings. Think of playing "light and separated" rather than "short." Use the crescendo at measure 46 and the decrescendo at measure 49 to emphasize the phrase. Watch out for the D# in measure 42 and the C# in measure 49.
[+] 1st Eb Alto Saxophone Bar 33, Beat 1 thru 48, 2 tempo 101
This section should be played in a light and lilting style. Pay close attention to the articulation markings. Start out playing at a f dynamic level and count carefully. In measures 33 and 34, you should come in on the + of beat 1. The last note of measure 35 is on the + of beat 2. Do not play the horn cues unless your director asks you to. Crescendo from a mp in measure 46 and watch out for the accidental notes.
[+] 2nd Eb Alto Saxophone Bar 33, Beat 1 thru 48, 2 tempo 101
This section should be played in a light and lilting style. Pay close attention to the articulation markings. Start out playing at a f dynamic level and count carefully. In measures 33 and 34, you should come in on the + of beat 1. The last note of measure 35 is on the + of beat 2. Do not play the horn cues unless your director asks you to. Crescendo from a mp in measure 46.
[+] Bb Tenor Saxophone Bar 43, Beat 1 thru 58, 2 tempo 101
This section should be played in a light and lilting style. Pay close attention to the articulation markings. On the staccato notes, think "light and separated" rather than "short." This the crescendos and decrescendos in measures 46, 49, and 50, 54, and 58 to emphasize the phrases. Watch out for the accidental notes in measures 46, 50, 54, and 55.
[+] Eb Baritone Saxophone Bar 38, Beat 1 thru 48, 2 tempo 101
This section should be played in a light and lilting style. Start out at a mp dynamic level and pay close attention to the articulation markings. Think of playing "light and separated" rather than "short" on the staccato notes. Watch for the crescendo and decrescendo in measures 40 and 41. Look out for the A# in measure 42 and the D# in measure 46. Crescendo through the half notes in measure 46 – 48. Listen to the bassoon, alto clarinet, and bass clarinet to match styles.
[+] 1st Bb Cornet Bar 50, Beat 2 thru 66, 2 tempo 101
This section should be played in a light and lilting style. Pay close attention to the articulation markings. Think of playing "light and separated" rather than "short" on the staccato notes. The solo should be played at a mf with a clear and beautiful tone. You may want to try measures 59 – the end at a slower tempo for pitch accuracy. In class, watch your director for the and fermata in measure 58 and the in measure 63.
[+] 2nd Bb Cornet Bar 54, Beat 2 thru 66, 2 tempo 94
This section should be played in a light and lilting style. Count carefully and come in on the + of beat 2 in measure 54. The eighth notes in measures 55, 56, and 57 are on the + of beat 1. Pay close attention to the articulation markings. Think of playing "light and separated" rather than "short" on the staccato notes. Make sure you are mp in measure 59. In class, watch your director for the and fermata in measure 58 and the in measure 63.
[+] 3rd Bb Cornet Bar 1, Beat 1 thru 8, 2 tempo 103
This section should be played in a light and lilting style at a f dynamic level. Pay close attention to the articulation markings. Think of playing "light and separated" on the staccato notes rather than "short." You may want to practice measure 5 at a slower tempo for pitch accuracy. Watch out for the F natural in measure 2. Make sure you decrescendo in measures 4 and 7 and crescendo in measure 5.
[+] 1st and 2nd F Horns Bar 51, Beat 1 thru 66, 2 tempo 101
This section should be played in a light and lilting style beginning with a mp dynamic level. Pay close attention to the articulation markings. Take a big breath before playing and try not to breath until the end of measure 58. Use the crescendo in measure 54 to emphasize the phrase. watch out for the accidental notes in measures 54, 55, 57, 60, and 62. In class, watch your director for the rallentando and fermata in measure 58 and the rallentando in measure 62.
[+] 3rd and 4th F Horns Bar 51, Beat 1 thru 66, 2 tempo 101
This section should be played in a light and lilting style beginning with a mp dynamic level. Pay close attention to the articulation markings. Take a big breath before playing and try not to breath until the end of measure 58. Use the crescendo in measure 54 to emphasize the phrase. watch out for the accidental notes in measures 54, 55, 57, 60, and 62. In class, watch your director for the rallentando and fermata in measure 58 and the rallentando in measure 62.
[+] 1st Trombone Bar 42, Beat 2 thru 58, 2 tempo 101
This section should be played in a light and lilting style beginning with a mp dynamic level. Pay close attention to the articulation markings. Think of playing "light and separated" rather than "short" on the staccato notes. Use the crescendo at measure 46 and the decrescendo at measure 49 to emphasize the phrase. Watch out for the B natural and Bb in measure 50. In class, watch your director at measure 58 for the rallentando and fermata.
[+] 2nd Trombone Bar 42, Beat 2 thru 58, 2 tempo 101
This section should be played in a light and lilting style beginning with a mp dynamic level. Pay close attention to the articulation markings. Think of playing "light and separated" rather than "short" on the staccato notes. Use the crescendo at measure 46 and the decrescendo at measure 49 to emphasize the phrase. Watch out for the F# in measures 46 and 54 and the Ab in measure 50. In class, watch your director at measure 58 for the rallentando and fermata.
[+] 3rd Trombone Bar 42, Beat 2 thru 58, 2 tempo 101
This section should be played in a light and lilting style beginning with a mp dynamic level. Pay close attention to the articulation markings. Think of playing "light and separated" rather than "short" on the staccato notes. Use the crescendo at measure 46 and the decrescendo at measure 49 to emphasize the phrase. Watch out for the B natural in measure 49 and the Db in measure 58. In class, watch your director at measure 58 for the rallentando and fermata.
[+] Baritone B.C. Bar 1, Beat 1 thru 8, 2 tempo 103
This section should be played in a light and lilting style at a f dynamic level. Pay close attention to the articulation markings. Think of playing "light and separated" on the staccato notes rather than "short." Watch out for the F# in measure 2. Make sure you decrescendo in measure 4. Use the crescendo in measure 5 and the decrescendo in measure 7 to emphasize the phrase. Listen for the melody line in the trumpet section.
[+] Baritone T.C. Bar 1, Beat 1 thru 8, 2 tempo 103
This section should be played in a light and lilting style at a f dynamic level. Pay close attention to the articulation markings. Think of playing "light and separated" on the staccato notes rather than "short." Watch out for the Ab in measure 2. Make sure you decrescendo in measure 4. Use the crescendo in measure 5 and the decrescendo in measure 7 to emphasize the phrase. Listen for the melody line in the trumpet section.
[+] Tuba Bar 1, Beat 1 thru 16, 2 tempo 103
This section should be played in a light and lilting style at a f dynamic level. Pay close attention to the articulation markings. Think of playing "light and separated" on the staccato notes rather than "short on the staccato notes in measure 15. Watch out for the B natural in measures 2 and 15. Make sure you decrescendo in measure 4. Use the crescendo in measure 5 and the decrescendo in measure 7 to emphasize the phrase. Listen for the melody line in the trumpet section.
[+] Percussion Bar 59, Beat 1 thru 66, 2 tempo 99
Snare Drum: This section should be played in a light and lilting style. Dynamics are very important here. Make sure that you start out at a mp dynamic level. Crescendo to f in measures 63 and 64 but listen to the winds to make sure that you are not over powering them. In class watch your director closely for the rallentando in measure 63. Your eighth notes in that measure should be exactly together with the eighth notes in the trumpets.